|Donald Swearingen performs When In Japan at Other Minds 4, 1997 - Donald Swearingen|
Donald Swearingen, a San Francisco-based electroacoustic composer, performs When In Japan at the Other Minds Music Festival in 1997 at San Francisco's Cowell Theater.
Keywords: Avantgarde; Electroacoustic; Sound Art
|Donald Swearingen performs Cooking Demonstration at Other Minds 4, 1997 - Donald Swearingen|
Donald Swearingen, a San Francisco-based electroacoustic composer, performs Cooking Demonstration at the Other Minds Music Festival in 1997 at San Francisco's Cowell Theater.
Keywords: Avantgarde; Electroacoustic; Sound Art
|Donald Swearingen performs 1923 at Other Minds 4, 1997 - Donald Swearingen|
Donald Swearing, a San Francisco-based electroacoustic composer, performs "1923" at the Other Minds Music Festival in 1997 at San Francisco's Cowell Theater.
Keywords: Avantgarde; Electroacoustic; Sound Art
|Thin Air: Interview with Stanley Shaff and Douglas McEachern, creators of AUDIUM|
Charles Amirkhanian speaks with Stanley Shaff and Douglas McEachern about their creation, AUDIUM, a Theater in Sound located in San Francisco, California. This interview, one of the first done by Amirkhanian, who joined KPFA on 8 July 1969, honors two of the most innovative pioneers of modern spatial music. Shaff, who celebrated his 75th birthday on February 14, 2004, was a featured composer at Other Minds Festival 10, which took place in San Francisco March 4-5-6 of 2004, at the Yerba Buena Cen...
Keywords: KPFA-FM; Interview and Music; Electro-Acoustic; Electronic; Stan Shaff; Douglas McEachern
|Harvey Matusow and the International Carnival of Experimental Sounds|
Charles Amirkhanian talks to Harvey Matusow about the International Carnival of Experimental Sounds (ICES ‘72), an avant-garde music festival, based on the theme of myth, magic, madness and mysticism, that was held in August 1972 in London. Featuring 46 concerts in 14 days, including marathon performances in an refurbished railroad roundhouse, a music train to Edinburgh, films, happenings, and performances by avant-garde artists, dancers, and musicians from around the world, ICES ‘72 could b...
Keywords: KPFA-FM; ICES; Music; Electro-Acoustic; Electronic
|Anthony Gnazzo: Space and Motion Study for Dancer No. 3|
Third in a series of studies in motion for dancers. Sound material is that of Study No. 2 (Dec. 1965) with a number of rearrangements and transpositions. Entire series of studies was done for the dancer Judith Jacobs. Alternate performance variations can be made by playing simultaneously with copies at different speeds. Composed by Anthony Gnazzo at the University of Toronto Electronic Music Studio, (Feb...
Keywords: Music; Electro-Acoustic; Electronic; Anthony Gnazzo
|Music by Brenda Hutchinson|
Perhaps best known for her work on the soundtrack to the movie "Liquid Sky", Brenda Hutchinson is a composer and sound installation artist who specializes in electro-acoustic compositions or "sonic portraits". She has studied with Pauline Oliveros and Robert Erickson, and performed around the world, often on instruments of her own devising, including the Long Tube, for which she has also created a gestural interface...
Keywords: Electro-acoustic; Music; Electronic music; KPFA-FM
|The Greatest Hits of BIOME|
Members of BIOME, a live electronic music ensemble, perform Tactus Tempus by Frank McCarty, live on KPFA on February 22, 1973. The performers are Allen Strange, Frank McCarty, Pat Strange, Boots McCarty, Steve Ruppenthal, and Steve Whealton. Following the piece, which is performed on four Synthi electronic music modules, the players talk with Charles Amirkhanian about the group and their music.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; BIOME
|Vocal Tape Delay by Jon Gibson|
Jon Gibson is an American composer, visual artist, and talented wind instrumentalist. He was an early collaborator with Steve Reich and a founding member of the Philip Glass Ensemble. Although well known for his work in jazz, minimal, and world music, Gibson was also an early experimenter with electronic music and frequently worked with such composers as Larry Austin and Stanley Lunetta. The work on this recording features extensive vocalizations of a wide variety...
Keywords: KPFA-FM; Music; Electronic music; Electro-Acoustic
|Radiofest: The Pioneers of Electronic Music in America|
This is a program, produced by the American Society of University Composers in conjunction with Radiofest: New American Music, in which the work of two early American pioneers in electronic music is explored. During the early 1950s Otto Luening and Vladimir Ussachevsky collaborated on a number of electro-acoustic recordings that utilized the newly available tape recorder, and employed such seemingly basic techniques as feed back and changing tape speeds to transform pitch with considerable effec...
Keywords: KPFA-FM; Radiofest; Documentary; Electro-Acoustic; Electronic
|Other Minds Festival 13: Panel Discussion and Concert 2|
Charles Amirkhanian moderates a panel discussion with the composers featured in the second concert of OM 13. Swedish composer, Åke Parmerud, discusses his tape work “Dreaming in Darkness”, that utilizes spatial separation in an attempt to capture his ideas of how it might be for blind people to dream in sound. Cellist and composer, Michael Bach describes his collaboration with John Cage on “One13” which was composed for a cello using his unique curved BACH.bow...
Keywords: Music; Electro-Acoustic; Electronic; Other Minds
|Payne Box: Sawtooth Wave|
This is an early example of the types of sounds that can be created electronically. It is uncertain if this modulated sawtooth wave was intended as a piece of electronic music or simply as a demonstration of a certain type of analog synthesizer. The accompanying documentation indicates it was one channel of a “Payne Box,” which may indicate that it was created by either Maggi Payne or John Payne, both composers of electronic music associated with KPFA during the late 1960s and early 1970s.
Keywords: KPFA-FM; Analog; Music; Electro-Acoustic; Electronic
|Introducing the Buchla Music Easel|
A 1975 recording of a party introducing one of Don Buchla’s synthesizer, probably the Music Easel. This program begins with the sounds of Buchla and others preparing the instrument for presentation while also describing its features to interested people who are milling around the studio. Then a composition entitled “Terminal References” is performed, followed by additional music that plays in the background as the party continues, and ending with the performance of a long electronic piece...
Keywords: Music; interview; electronic music; electro-acoustic; synthesizers
|Takashi Harada: A Recital for Ondes Martenot & Piano at Other Minds 8, 2002 - Other Minds|
Takashi Harada's 2002 recital for Ondes Martenot and piano at The Other Minds Music Festival 8 in San Francisco California. A Recital for Ondes Martenot and Piano Dedicated to the memory of Jeanne Loriod (1928-2001) Takashi Harada, Ondes Martenot Hiroko Sakurazawa, piano Pieces streamed in order: Andre Jolivet: Trois Poemes pour Ondes Martenot et Piano (1935) West Coast Premiere Ondes Serimpie Chant d'oppression Takashi Harada: Poison d'or, for Ondes & Piano (2001) U.S...
Keywords: 20th Century Classical; Music; Electro-acoustic
|Amnon Wolman: And Then She Said|
A live performance at Stanford University of a piece for actress and computer generated and processed tape, recorded in April 1987.
Keywords: KPFA-FM; Music; Music Theatre; Electro-Acoustic; Electronic; Amnon Wolman
|Four Early Works by Anthony Gnazzo|
Four early compositions by Anthony Gnazzo. Unlike the later tape pieces for which Gnazzo is perhaps best known, these four chamber and electro-acoustic works show off the more traditional, maybe even academic, side of his many musical accomplishments. Featured works include “Stochata” for two violins, flute, and clarinet, “Music for Two Pianos and Electronic Sounds,” “Music for Piano I,” and “Music for Brass with Electronic Sounds.” The first two works were recorded in 1964 at tw...
Keywords: Music; New Music; Chamber Music; Anthony Gnazzo; Electro-Acoustic; Electronic
|Source: Sound Show, Museum of Contemporary Crafts, New York City|
In this edition of Source, produced by the editorial staff of “Source Magazine”, a bi-yearly publication devoted to avant-garde composers’ scores, articles and photographs, the focus is on a show of Sound Art held at the Museum of Contemporary Crafts in New York City from October 1969 to January 1970. There is a brief description of the history of sound sculpture and then recordings of many of the works featured at the show...
Keywords: KPFA-FM; Music; Electro-Acoustic; Sound Poetry; Source Magazine
|Interview with Phil Winsor|
Charles Shere talks to Philip Winsor about his work, Sound Study I, written at the San Francisco Tape Music Center, was followed two years later with his Sound Study II, produced at the Milan Studio. Together they try to sort the differences in achievement out of the similarities of means. A classic example of a classically trained composer (Shere) trying to get his head around the process of composing electronic music...
Keywords: KPFA-FM; Interview and Music; Electro-Acoustic; Electronic; Phil Winsor
|Syner (”Visions”) by Lars-Gunnar Bodin|
Recorded in stereo quadraphonic, “Syner”, which translates to “Visions”, is a work of electronic music in three movements by Swedish composer and sound poet, Lars-Gunnar Bodin.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Lars Gunnar Bodin
|Source Program No. 2|
The second in a series of late-night electronic music mixes, produced by the editorial staff of “Source Magazine”, a bi-yearly publication devoted to avant-garde composers’ scores, articles and photographs. Source also produced a series of published music scores, Composer/Performer Edition. This programs is produced by Larry Austin, Stanley Lunetta, and Arthur Woodbury.
Keywords: KPFA-FM; Source Series; Music; Electro-Acoustic; Electronic; Avant-Garde
|Excuse Me, But Are There Any Protozoa In This Pond? by Peg Ahrens|
This is a live, feedback piece, performed by Maggi Payne, Robin Kirck and composer Peg Ahrens and is mixed by Rich Gold. Originally recorded at Mills College on April 27, 1974, the work consists of audio feedback, most likely resulting from five microphones placed or moved in front of a number of speakers, that was then controlled and mixed by an audio engineer. At times sounding like an amplified glass harmonica and at other times like a subdued Hendrix guitar solo, this piece is really a quite...
Keywords: Electronic Music; Electro-Acoustic; Peg Ahrens; KPFA-FM
|Driftwood Cortege by Tim Souster|
A recording of “Driftwood Cortege” by Tim Souster, an English composer who is best known for his electronic music compositions. This atmospheric piece of electronic music was created at the Stanford University Computer Studio in the Fall of 1978, during Souster’s six month stay in the San Francisco Bay Area. Born in 1943, Souster studied with Bernard Rose, Sir David Lumsden, and Karlheinz Stockhausen, among others...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Tim Souster
|New Music FM I: Signal Smart|
Ned Sublette introduces a program of five works produced for the broadcast medium by New York composers. These full length, electronic and musique concrète pieces, most of which involve samples from radio and TV broadcasts, provide a fascinating introduction to the experimental music scene of New York during the early 1980s. The composers represented are Peter Gordon, David van Tieghem, Ned Sublette, Maryanne Amacher, Frankie Mann, and the Boris Police Band...
Keywords: KPFA-FM; WNYC; Music; Electro-Acoustic; Electronic; New Music FM
British composer, electronic music specialist, and program host, Richard Povall presents the final installment of his KPFA series, Stereochemistry, broadcast on August 27, 1990. This is a program of newly released computer music, poetry, theater, performance and technology driven art, as well as whatever else he could get his hands on, but always highlighting the use of technology in a creative way...
Keywords: KPFA-FM; Interview and Music; Performance Art; Electro-Acoustic; Electronic
|Music by La Monte Young|
Alexander Dea plays a selection of recordings of La Monte Young's early minimalist drone pieces and discusses the composer’s life and works. La Monte Young (born Bern, Idaho, 1935) has pioneered the concept of extended time durations in contemporary music for over 35 years. In addition, his work has played a central role in the development of the use of just intonation in 20th century music, and the growth of the minimalist style...
Keywords: KPFA-FM; Music; Minimalism; Electro-Acoustic; La Monte Young
|Touch by Morton Subotnick|
Created on the Buchla Electronic Music System and recorded in quadraphonic sound, “Touch” by Morton Subotnick, is another early electronic music masterpiece by the pioneering American composer. Before the age of microcomputers and digital synthesizers, Subotnick was making engaging works of purely electronic sounds in a style somewhat similar to his better known European colleagues such as Karlheinz Stockhausen...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Morton Subotnick
|Selections for Saxophone and Tape by Barton McLean and Kevin Hanlon|
Three works for saxophone and tape as performed by Albert Regni. First up is “Dimensions III” and then “Dimensions IV”, both by Barton McLean, who dedicated them to his collaborator and performer, Regni. These are followed by “Variations” by Kevin Hanlon which is scored for alto saxophone and tape delay.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; New Music
|Zion I by Jan Paul Wendt|
A recording of “Zion I” by Jan Paul Wendt. According to the accompanying literature found with the tape, and likely written by the composer: “The palace of holiness in the midst is the true meaning of the word Zion, symbolizing the center of the wheel of life that radiates, in time and space, all the endless and diverse manifestations of its ever-becoming breath of life or prana." “(Nothing else need to be added...
Keywords: KPFA-FM; Music; Electronic; Electro-Acoustic; Ambient sounds
|A Living Man by Sten Hanson|
Recorded in stereo quadraphonic, “A Living Man” is a work combining electronic sounds and recorded voice by the Swedish composer and sound poet, Sten Hanson. The composition begins with a self described electronic music symphony but soon expands so as to include a male voice listing a litany of qualities and activities that a living man enjoys. Composed in 1972 the work is typical of the type of text-sound composition that was quite in vogue in Northern European avant-garde circles during th...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Sten Hanson
|Music by Martin Bartlett & Alden Jenks|
Three works of electronic music created at the Mill College Tape Center in the 1960s. First up is “Zoomorph” by Canadian composer Martin Bartlett, followed by two pieces by Bay Area based composer Alden Jenks.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Alden Jenks; Martin Bartlett
|Four Works by Gordon Mumma|
Four works by Gordon Mumma. The first and last works, “Vectors” and “Densities” are purely electronic tape pieces, very representative of the early, electronic music of Mumma. Also included is “Sinfonia” an electro-acoustic work scored for twelve instruments and tape, recorded on March 4, 1961 at that year’s ONCE Festival in Ann Arbor, Michigan. The ONCE Festival Chamber Ensemble is directed by Wayne Dunlap...
Keywords: KPFA-FM; Music; Electronic; Electro-Acoustic; Gordon Mumma
|Stereo Radio by Anthony Gnazzo|
“Stereo Radio” is another inventive experimental composition by one of the early wizards of the electronic music studio, Anthony Gnazzo. Ever playful and energetic Gnazzo was well known to KPFA listeners in the 1960s and 70s for his often irreverent yet always entertaining works that explored all the conceivable possibilities offered up by early electronics, new aleatoric compositional techniques, tape manipulation, with the occasional kitchen sink occasionally thrown in for good measure...
Keywords: KPFA-FM; Electronic music; Electro-Acoustic; Musique concrète; Aleatory music
|Pitch Out by Allan Bryant|
Originally released as an insert into the seminal avant-garde “Source” magazine, this is a recording of members of Musica Elettronica Viva (MEV), performing Allan Bryant’s “Pitch Out” for three guitars and electronics. Musica Elettronica Viva was the premiere experimental electronic music ensembles performing live music during the 1960s and 70s. Bryant, a founding member of MEV, is an American composer noted for his reexamination of the electric guitar as a source of electronic sounds ...
Keywords: KPFA-FM; Music; Electro-acoustic; Electronic; Aleatory music; Guitar music
|Not So, Gnazzo|
After yet another period of self-imposed retirement, intermedia artist, war correspondent, and general man around town, Anthony Gnazzo, returned to radio in 1971 with another important prerecorded message. “Not So” is an extended text-sound composition which combines taped telephone conversations with what sounds like live readings of selected cut-up texts and other sundry auditory eruptions. Is it just derivative of past avant-garde masterpieces or is it a hilarious, cutting-edge commentary...
Keywords: KPFA-FM; Music; Sound Poetry; Electro-Acoustic; Electronic
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|Fifth Biennial Survey of Contemporary Music: Works by Frederic Rzewski & Julius Eastman|
One in a series of programs originating from the International Service of Belgium Radio and Television in which the works of contemporary 20th century composers are highlighted. In this edition two pieces by American composers performed by the Society of Electronic Music of Buffalo, New York. First is “Le Montons De Panurge” by Frederic Rzewski, a work scored “for any number of musicians playing melody instruments plus any number of non-musicians playing anything”...
Keywords: Contemporary Music; KPFA-FM; Music; Electro-Acoustic; Electronic
|Three Early Works by Howard Sandroff|
Three early works by Howard Sandroff. The first work, “Five Aphorisms” is for soprano and small instrumental ensemble, and takes as its text short “bits” of poetry by Kathleen Lombardo. According to the composer the intent of the piece was to create a work “using the sound of the words, rather than their meaning as a point of departure. The text, when sung, isn’t meant to be understood...
Keywords: KPFA-FM; Music; Electro-acoustic; Electronic music; New Music
|Fontana Mix by John Cage|
This is a tape realization of John Cage’s 1958 composition “Fontana Mix”. More of an indeterminate plan for a piece than a piece itself, “Fontana Mix” has a graphic score consisting of 10 sheets of paper with curved lines and 12 transparencies, 10 of which contain a varied number of randomly distributed dots, 1 with a straight line, and the last with a grid pattern. According to Cage’s instructions these sheets could be superimposed upon each other and then interpreted so as to indic...
Keywords: KPFA-FM; Music; New Music; Electro-Acoustic; Electronic; John Cage
|Toot le Fromage by John Payne|
“Toot le Fromage” is an electronic synthesizer composition by the Berkeley, California based composer, John Payne. The first 25 minutes of this at times almost minimalist piece were composed on the Buchla Synthesizer at Mills College in January 1969. The last five minutes were composed in November 1970 on the Moog Synthesizer at Different fur Trading Company in San Francisco. Taken together the entire work is a perfect example of the sort of music being produced in the 1960s and early 1970s ...
Keywords: KPFA-FM; Music; Electronic; Electro-Acoustic; Synthesizer music
|Any Resemblance Is Purely Coincidental by Charles Dodge|
Recorded on September 16, 1980 at the International Festival of Electronic Music, in Stockholm, Sweden, pianist Kerstin Åberg, performs Charles Dodge’s “Any Resemblance is Purely Coincidental,” a work for tape and solo piano. According to the composer: “The tape part is based on computer restoration and re-synthesis of the 1907 recording of the legendary Enrico Caruso singing 'Vesti la giubba' from Ruggero Leoncavallo's ‘I Pagliacci’ (1892)...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic music; Piano music
|Source: The First Show|
Larry Austin, Stanley Lunetta and Arthur Woodbury, the editorial staff of “Source Magazine”, a bi-yearly periodical devoted to avant-garde composers’ scores, articles and photographs, present the first in what was to become a regular program on KPFA. This show consists of an extended mix of electronic sounds, speech, and fragments of interviews.
Keywords: KPFA-FM; Music; Electro-Acoustic; Avant-Garde; Source Magazine
|The Expanded Ear: Six Acre jam|
Charles Amirkhanian reports on The Expanded Ear music conference, held on April 27-29, 1973 at the Camp de Benneville Pines, in the San Bernardino National Forest. The highlight of the conference was the Six Acre Jam, performed over a hillside by about 60 musicians and no less than ten synthesizers. Join Charles as he takes a walk through the woods interviewing performers and composers, including Richard Bunger, Barry Gott, Jacques Bekaert, Nicolas Slonimsky & Dane Rudhyar, all while the sounds ...
Keywords: KPFA-FM; Interview and Music; Free Improvisation; Electro-Acoustic; Electronic
|Unidentified Electronic Music and French Sound Poetry|
This program incorporates sounds produced by an early analog synthesizer combined with occasional fragments of processed speech, French sound poetry, and clips from NASA’s Apollo missions. The work is somewhat sparse, allowing the listener to enjoy every variation in the resulting mix of speech and electronic sounds. The latter half of the program has been tentatively identified as “Biopsie 12: Terre a Terre” by Bernard Heidsieck.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Sound Poetry
|Bland I by Bengt Emil Johnson|
Recorded in stereo quadraphonic and given the rather obscure title of “1/1970; (Bland) [(among)] I” this is an engaging piece of electronic music by the Swedish composer and sound poet Bengt Emil Johnson. In assembling a variety of sounds into a continuous yet ever shifting sequence Johnson has created a what sounds like a drive through an hallucinatory landscape inhabited but what one might imagine to be huge insects and other strange aliens.
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Bengt Emil Johnson
|Two Works by Paul Kalbach|
Two electro-acoustic works by Paul Kalbach, a San Francisco Bay Area composer, painter, and visual artist. Kalbach, who received his B. A., M. A., and M. F. A. degrees from the University of California at Berkeley, became interested in composting electronic music when he was introduced to the Buchla Synthesizer by Suzanne Ciani. He was quickly enamored with this new medium of artistic expression and soon built his own music studio, starting with dozens of old language lab reel to reel tape decks...
Keywords: KPFA-FM; Music; Electro-acoustic; Electronic music; Paul Kalbach
|Pythagorean Clavinet Phaze by Don Cardoza|
This is a half hour long piece of entrancing music for the clavinet, that appears, at least to the untrained ear to have been influenced by Indian ragas. The clavinet is an electronically amplified clavichord and produces a sound quite similar to an electric guitar, despite it being a keyboard instrument. Don Cardoza has studied piano with Carlo Busotii and Michaiko Kolbiaka, among others, and he studied composition with Wayne Peterson, Fred Fox, and Ton De Leeuw at the Amsterdam Conservatory an...
Keywords: KPFA-FM; Music; Electro-Acoustic; Electronic; Don Cardoza
|Musique Concrète and Electro-Acoustic Music by Two Belgian Composers|
Three works of avant-garde electro-acoustic music by two Belgium composers. The first two selections, “Choir” and “Electronic Suite” are both musique concrète compositions by Louis De Meester. That is they are tape works drawn from sounds that naturally exist in the real world, as opposed to electronic music which utilizes sounds produced electronically. However each of these works, composed during the 1960s, seems to include some additional electronic processing or manipulation...
Keywords: KPFA-FM; Music; Electronic Music; Electro-Acoustic; Avant-Garde
|New Directions in Europe: Program No. 3|
Program No. 3 from a 13-part series exploring new music activity throughout Europe, produced in 1984 by Ned Wharton of KFJM (Grand Forks, North Dakota), and funded by a grant from the National Public Radio’s Satellite Development Fund. Recorded at the Pompidou Center in Paris, this program focuses on the Workshop for Instrument Research at the Institut de Recherche et Coordination Acoustique -Musique (IRCAM), a Paris based center dedicated to the study of avant-garde electro-acoustic music and...
Keywords: KPFA-FM; KFJM; Documentary; Music; Electro-Acoustic; Electronic; IRCAM
|A Concert of Live Electronic Music at U. C. San Diego (1968)|
This is a recording of a concert of live electronic music presented at the University of California in San Diego on April 18, 1968, featuring works by Martin Bartlett, Toshi Ichiyanagi, and Anthony Gnazzo. The original concert program notes, written by Pauline Oliveros, states: For the past twenty years electronic music has been associated with magnetic tape and a stage devoid of performers. The equipment found in most classical electronic music studios was never intended for music-making but wa...
Keywords: KPFA-FM; Music; electronic; electro-acoustic; mixed media
|Avant-Garde Trombone Studio Concert|
Stuart Dempster, principal trombonist of the Oakland Symphony, and faculty member of the San Francisco Conservator and California State College, presents a recital of six premiers, including three works commissioned by himself. This concert was held on June 24, 1966 at the San Francisco Tape Music Center. The concert is announced by Charles Boone, composer and officer of the Composers' Forum. During the intermission he interviews Mr...
Keywords: KPFA-FM; Music; Avant-Garde; Electro-Acoustic; Electronic; Trombone
|The Music of Orlando García|
Orlando Jacinto García, is a Cuban-born, American composer of new music, and is Professor of Music and Director of the Composition Program for the School of Music at Florida International University. He studied with Morton Feldman, has composed more than 100 works in many different genres, worked with numerous ensembles, and has founded and directed a number of international festivals, including the New Music Miami Festival and the Music of the Americas Festival...
Keywords: KPFA-FM; Music; 20th Century Classical; Electro-Acoustic; Electronic